Music Journalism: All You Need to Know

Music Journalism, being a unique field combines the passion for music with the art of storytelling. Have you ever wondered what goes into crafting a compelling review or an engaging artist profile? Or, what it takes to critique a masterpiece or interview a rockstar? 

In this blog, we will delve deep into the world of Music Journalism, explore its various facets and the skills required to excel in it.  

From breaking industry news to in-depth album analyses, Music Journalists play an important role in shaping public perception and understanding of music. Let's dive into the essential elements and challenges of Music Journalism—where every note counts and every story sings. ️

Table of Contents 

1) Understanding What is Music Journalism 

2) Impact of the Internet on Music Journalism 

3) Music Journalism Case Studies  

4) What Does a Music Journalist do?

5) How to Become a Music Journalist?

4) Notable Trends of the 21st Century 

5) Conclusion

Understanding What is Music Journalism 

Music Journalism, a branch of journalism intricately focused on music and its cultural impact, has broadened from its classical music criticism origins to include a diverse array of genres like pop and hip-hop. The practice began in the 18th and 19th centuries with critics shaping public opinion and musical standards through their reviews of burgeoning orchestral and operatic scenes.

Pioneering critics like James William Davison in Britain and Hector Berlioz in France set the tone for this sort of journalism, offering perspectives that ranged from traditional to composer centric. The field was further revolutionised by Ruth Scott Miller, Henriette Weber, and Claudia Cassidy, who broke new ground with their insightful critiques, support for emerging talents, and fearless commentary, respectively, thus cementing the critical role of Music Journalism in shaping cultural narratives.

Impact of the Internet on Music Journalism 

The advent of the internet has brought about seismic shifts in many industries, and Music Journalism is no exception. Its impact can be seen across various facets of the domain, from the democratisation of voices to the instantaneity of information dissemination. 

Here are the many facets of Internet’s impact on Music Journalism: 


 

Democratisation of Voices 

Before the Internet, this industry was largely confined to established magazines, newspapers, and radio. The digital age has levelled the playing field. Today, anyone with a passion for music and a perspective to share can start a blog, create a YouTube channel, or post reviews on platforms like Bandcamp and SoundCloud.  

Moreover, this democratisation has diversified the voices that bring in fresh perspectives and underscoring niche genres that once went underrepresented. 

Speed of Information 

The lag between a music event, album release, or concert and its corresponding review has diminished drastically. Today, reviews can be published within hours or even minutes, and live-tweeting a concert allows real-time journalistic engagement. This speed has its pros, offering immediacy, but also its cons, as journalists might sacrifice depth for timeliness. 

Interactivity and Engagement 

The static nature of print journalism has given way to a dynamic, interactive digital landscape. Readers can now comment on reviews, share articles on social media, and even directly engage with journalists. This dialogue has fostered a more interactive relationship between the artist, journalist, and audience. 

Diversification of Format 

Written articles are just the tip of the iceberg. Podcasts, video essays, infographics, and interactive multimedia pieces offer diverse ways to explore and discuss music. This range caters to varied audience preferences, making Music Journalism more accessible. 

Economic Challenges 

With the rise of free content online, traditional revenue models for many Music Journalism outlets have been disrupted. This has led to closures of some legacy publications, while others have had to innovate with subscription models, partnerships, or diversified content offerings to stay afloat. 

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Rise of Algorithms 

Platforms like Spotify and Apple Music utilise algorithms to suggest new music, somewhat encroaching on the traditional role of music journalists as gatekeepers of new and emerging artists. 

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Music Journalism Case Studies 

Below are two important case studies pertaining to the industry of Music Journalism, have a look: 

Gender and Race Theory 

Gender and race theory dives into the ways that gendered and racial biases shape music coverage, criticism, and representation. Historically, the industry has been dominated by white male perspectives, often marginalising or misrepresenting female artists, artists of colour, and non-binary individuals.  

Additionally, the skewed representation often perpetuates stereotypes, overlooks significant contributions from diverse artists, and limits the range of stories told. By integrating gender and race theory, it can become more inclusive, ensuring that diverse voices are heard and that artists are evaluated without the cloud of unconscious bias. 

Now Kelefa Sanneh and Daphne Brooks are influential figures who contributed to the evolving dialogue around gender and race in Music Journalism and criticism. Kelefa Sanneh, a noted music critic, has written for prestigious publications like "The New York Times" and "The New Yorker."  

His critiques often transcend mere music reviews, going deep into cultural contexts, racial dynamics, and the sociopolitical implications of music. His work offers a nuanced look at how race intersects with genres, audience expectations, and artist representations. 

Furthermore, Daphne Brooks, a Yale professor, focuses on African American literature, music, and cultural history. Through her scholarly work, Brooks examines the intersections of race, gender, and performance. She's especially known for exploring the roles and perceptions of black women in the music industry.  

Brooks' writings and teachings challenge traditional narratives and highlight the often-overlooked contributions of marginalised groups to music and popular culture. Together, voices like Sanneh's and Brooks' push for a more inclusive and comprehensive future. 

Moreover, Music Journalism's relationship with the queer community has been one of evolution and growth, though not without its challenges. Historically, the queer community, particularly in the context of music, was often sidelined, stereotyped, or misrepresented in mainstream media.  

However, as societal awareness and acceptance of Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, and Asexual (LGBTQIA+) issues increased, artists identifying as queer received more attention. As a result, their narratives became integral to the understanding of music culture.  

Queer Music Journalists have also emerged as influential voices, providing insights from a perspective that was previously underrepresented. Their critiques and features bring forward the nuances of queer experiences, challenging heteronormative narratives and offering richer, more layered interpretations of music and its impact on identity and expression. 

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Criticism of Rock Music from Christian Communities 

Rock music, ever since its inception, has often found itself under scrutiny from various societal quarters, including significant segments of Christian communities. This criticism primarily centres on the belief that rock music promotes messages and lifestyles contrary to Christian teachings. 

Now David A. Noebel, an influential Christian author, staunchly criticised rock music, linking it to moral decline. He believed that the rhythms and messages in rock music were deliberately designed to promote a hedonistic, anti-Christian worldview. Noebel's writings frequently drew connections between rock music, drug culture, and a broader societal movement away from traditional Christian values. 

Furthermore, Bob Larson, an evangelical Christian preacher, took his criticism to the airwaves. Through his radio show and later television appearances, Larson equated rock with satanic influences. He often held dramatic confrontations with rock musicians, suggesting that their music was not only morally but spiritually corrupting the youth. 

Moreover, Dr. Frank Garlock, a notable music professor and Christian fundamentalist, added another dimension to the criticism. He argued that rock's underlying beats and rhythms were themselves spiritually compromising. Garlock believed that even Christian rock was dangerous as it used the same musical patterns and structures as secular rock, potentially leading young believers astray. 

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What Does a Music Journalist do?

As a Music Journalist, one engages in a multifaceted role that encompasses various responsibilities. Some of them are discussed below:

1) Music Journalists attend concerts, festivals, and other music events to provide live coverage, interviews, and behind-the-scenes insights. They capture the essence of the experience, often conveying the atmosphere, performances, and audience reactions.

2) They conduct interviews with musicians, composers, and industry professionals to explore their creative processes, upcoming projects, and personal stories. These interviews can be in-depth features or quick Q&As for print or digital media.

3) Critiquing albums, singles, and Extended Plays (EPs) is a staple task. Music Journalists listen to new releases, analyse them, and write reviews that assess the music’s quality, originality, and impact on the genre or industry.

4) Keeping a pulse on the music industry, Music Journalists analyse and report on emerging trends, shifts in music consumption, and the evolution of genres. They often write think-pieces that contextualise music within broader cultural and social trends.

5) Beyond reporting, they craft feature articles that delve into topics like the history of a genre, the influence of a particular artist, or the impact of technological advancements in music production. These articles require thorough research and a deep understanding of music history and theory.

How to Become a Music Journalist?

Commencing on a Music Journalism career is an exciting journey for those with a passion for music and storytelling. If you have a formal education or are starting from scratch, there are multiple pathways to break into this dynamic field. Here’s how you can turn your love for music and writing into a professional pursuit:

1) With a Degree

Pursuing a degree in journalism, communications, or music can provide a structured educational foundation. Courses often cover writing techniques, media ethics, and music history. Internships through the program can offer hands-on experience and industry exposure.

2) Without a Degree

For those without a formal degree, building a portfolio through blogging, freelance writing, and contributing to music forums or local publications is key. Self-education in music theory and journalism basics is essential, as is staying informed about the music industry.

3) Develop Your Network

Networking is crucial in the journalism field. Attend music events, join online communities, and connect with industry professionals on social media. Developing relationships can lead to mentorship opportunities and potential job leads.

Notable Trends of the 21st Century

In the 21st century, Music Journalism has witnessed a digital revolution, with blogs and streaming platforms becoming key players. There's been a democratisation of voices, increased focus on inclusivity addressing gender, race, and sexuality, and a blend of multimedia formats, from podcasts to video essays, shaping discourse and discovery. 

Here are some notable trends with respect to the 2000s and 2010s: 

The 2000s 

The 2000s marked significant shifts in Music Journalism, mirroring the broader changes in the music industry and culture. Here are the many changes described as follows: 

As the internet became ubiquitous, print publications faced challenges, while online platforms, blogs, and forums rose to prominence. This period saw the rise of platforms like Pitchfork, which became influential in shaping indie music tastes. 

Critics like Martin Edlund and Carl Wilson weren’t just reviewing albums; they were dissecting the cultural, social, and sometimes political contexts around them. Wilson’s exploration of Celine Dion’s album "Let’s Talk About Love," for instance, dived into questions of taste and cultural elitism. 

Critics like Jody Rosen from Slate magazine and Ann Powers of the Los Angeles Times championed pop music, challenging the notion of a hierarchy of genres. They advocated for the value and craft in pop, arguing it was deserving of the same analytical rigor as any other genre. Rosen, in particular, garnered attention for his sharp-tongued critiques, often blending humour with deep cultural insights. 

The 2000s also saw a growing awareness of the need for diverse voices in Music Journalism. Critics and writers were more vocal about issues of gender, race, and sexuality, mirroring broader societal movements towards inclusivity. 

The boundary between critic and personal essayist became blurrier. Critics like Ann Powers interwove personal narratives with Music Analysis, making their critiques more relatable and offering readers a window into the interplay between music and personal experience. 

The 2010s 

The 2010s saw a further evolution in Music Journalism, influenced by technological advancements and sociocultural movements. Here's a breakdown of the period’s significant trends, featuring some of the era's notable critics: 



The proliferation of streaming services like Spotify and Apple Music fundamentally changed the music industry. Critics had to grapple with and understand the implications of the "streaming era" on artists, album sales, and music discovery. 

As the internet's vast space allowed for flexibility in content length, there was a rise in longform journalism. Critics like Scott Miller provided in-depth analyses, delving deep into an artist's work or a particular genre's evolution, offering readers comprehensive insights. 

The 2010s saw a surge in social and political movements, and Music Journalism wasn't untouched. Critics like Tracy Moore integrated broader societal themes into their critiques, highlighting how music interacted with issues like gender, race, and political activism. 

With platforms like Bandcamp offering artists a space to self-publish, there was a resurgence of DIY ethos in the music scene. Stevie Chick, known for his works on punk and alternative genres, captured this spirit, highlighting the raw and uncompromising voices emerging from the underground. 

Tris McCall, known for his focus on the New Jersey music scene, underscored a trend in the industry. While global sounds and trends were essential, local scenes were rich with stories and developments. The decade saw an emphasis on these micro-narratives, offering readers a taste of the global in the local. 

The written word was often complemented by integrated videos, playlists, and interactive elements, making Music Journalism a more immersive experience. 

Conclusion 

As we conclude our exploration on Music Journalism, we hope you’re now attuned to its powerful role in shaping the soundscape of society. With the gained knowledge, you can orchestrate your symphony of stories in the vibrant world of music reporting. Let the rhythm of truth and the melody of insight guide you to uncover the untold tales behind the tunes. Creating a Journalism Portfolio focused on music reporting allows you to showcase your unique voice and talent in this dynamic field.

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